#301
Posted: 3/17/15 at 11:41am
"Extremely curious because looking at them they look a little old to be casted"
Casted is not a word.
Casted is not a word.
The King and I previews thread — Page 13
#302
Posted: 3/17/15 at 8:51pm
Whenever I see pictures of the ornate golden curtain, the more I think that it's the best curtain for any of Bartlett Sher's shows so far. It's even better than the curtain for SOUTH PACIFIC.
If this production gets really good notices, I sincerely hope that Sher and his talented crew are planning a 50th anniversary LCT production of FOLLIES in 2021, think of the masterstrokes he can come up with. Plus he should get Joshua Bergasse who did the stellar choreography for ON THE TOWN to do the choreography for FOLLIES. Sorry if I'm sounding like a broken record on that idea but I can't help it.
If this production gets really good notices, I sincerely hope that Sher and his talented crew are planning a 50th anniversary LCT production of FOLLIES in 2021, think of the masterstrokes he can come up with. Plus he should get Joshua Bergasse who did the stellar choreography for ON THE TOWN to do the choreography for FOLLIES. Sorry if I'm sounding like a broken record on that idea but I can't help it.
#303
Posted: 3/18/15 at 12:27am
Here is my curtain picture...
[IMG]
[IMG]
"There’s nothing quite like the power and the passion of Broadway music. "
#304
Posted: 3/18/15 at 1:37am
If anyone is interested I am selling a ticket for Thursday March 19th.
PM if interested. Seat is 1 Ticket, Right Side Loge Row A, Seat 503. Bought it through LincTix but plans changed for that day.
PM if interested. Seat is 1 Ticket, Right Side Loge Row A, Seat 503. Bought it through LincTix but plans changed for that day.
#305
Posted: 3/18/15 at 8:20am
Was at the second preview, with the broken curtain - It was still a glorious experience. There were A LOT of glitches and although I didn't pay full price, other people obviously did - Previews should most definitely NOT be full price.
Kelli is sublime, she really is one of the best interpreters of the R&H songbook. Ken Watanabe definitely needs work on his diction, but he is such an exciting actor and makes such wonderful choices, you really don't care. I found Conrad Ricamora extremely disappointing. I LOVE him as an actor - but this is not King Lear and Lun Tha is really there to sound gorgeous, sadly Conrad sounded strained and unsure - especially when compared to the glorious Ashley Park, who is an absolute dream as Tuptim.
The real star of this show is Ruthie Anne Miles - lord I hope she gets some serious awards attention. I have never seen the role of Lady Thiang played like this. While Ruthie is definitely not the voice we are used to for the role - she is so in control, so fierce and compelling in her portrayal that she creates a definitive Lady.
What a glorious season for revivals!
Kelli is sublime, she really is one of the best interpreters of the R&H songbook. Ken Watanabe definitely needs work on his diction, but he is such an exciting actor and makes such wonderful choices, you really don't care. I found Conrad Ricamora extremely disappointing. I LOVE him as an actor - but this is not King Lear and Lun Tha is really there to sound gorgeous, sadly Conrad sounded strained and unsure - especially when compared to the glorious Ashley Park, who is an absolute dream as Tuptim.
The real star of this show is Ruthie Anne Miles - lord I hope she gets some serious awards attention. I have never seen the role of Lady Thiang played like this. While Ruthie is definitely not the voice we are used to for the role - she is so in control, so fierce and compelling in her portrayal that she creates a definitive Lady.
What a glorious season for revivals!
#306
Posted: 3/18/15 at 8:27am
I'm a little baffled by the decision to minimize, if not ignore, the vocal demands in the romantic subplot characters, who are given some of the most glorious melodies in R&H's oeuvre. But in some ways it's part of an evolving trend, the reasons for which we can discuss elsewhere.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
#307
Posted: 3/18/15 at 3:27pm
Hi everyone, I am new to this board. I actually read all of your opinions often but have never felt compelled to join in the discussion until now. If anyone is thinking of missing this production because of Ken Watanabe you will be doing yourself a great dis service if you are a theater lover. In fact I will go further and say that Mr. Watanabe is the very reason to see this show. Yes, all of the glowing reviews for Kelli and Ruthie are deserving. They both own the stage and the parts they play. It is Mr. Watanabe's transformation that is truly inspiring here. His choices as an actor, his desire to change from barbarian to civil, he's comedic timing, his very presence is inspiring. I have never watched this man perform before in any medium. YES, his diction sucks. But ya know what, it really doesn't matter. You understand him when you need to (which is most of the time) and when you can't you don't mind.
#308
Posted: 3/18/15 at 3:33pm
I agree. Watanabe's presence and characterization more than make up for his clarity of speech. And for my money, it seems like he is improving, since I understood much of what he said on Sunday afternoon.
#309
Posted: 3/18/15 at 3:37pm
^ I am happy to read that! He has the stage presence for sure, he was just hard to understand the night that I attended.
"There’s nothing quite like the power and the passion of Broadway music. "
#310
Posted: 3/18/15 at 6:06pm
Just got back from seeing today's matinee.
I won't post them here, but I have a picture of the curtain, as well as the stage as you're leaving the theater, both on my instagram (justjake2000).
For the person who asked if the Shall We Dance scene was the same as the commercial, not exactly. The commercial is obviously in some actual ballroom location. On stage, there are pillars throughout the stage, as well as the kings furniture down stage. Other than that, the stage is bare.
Anyway, I absolutely loved the show today. I'll admit that I've never seen the show before (not sure how that happened), so I was pretty unfamiliar with the plot, but super familiar with the music. Kelli, as everyone has said, is just superb. She is incredibly in her element and the whole show just seems so natural for her.
Ken Watanabe really grew on me - I'm not sure how bad his diction was last week, but I was able to catch about 75% of it today. There were a couple moments where I had absolutely no idea what he was saying (specifically "A Puzzlement"...), but was able to use context clues to figure it out. Other than that, I understood everything else and thought his characterization was so interesting and a joy to watch.
And I'll also add to the praise of Ruthie Ann Miles who is clearly the stand out in the ensemble. What a special performer.
As this was my first time seeing the show, I had no qualms about the "lack" of set as someone had said before. I actually really loved when the stage was bare except for a few small set pieces. It really drew you into what the characters were actually saying.
The opening scene with the ship was spectacular. The audience immediately started applauding when the curtain opened to reveal the ship, but we started cheering a couple seconds later (for those who already know what the ship does).
All in all, I left the show feeling so moved and would easily recommend it to anyone.
PS. Show started at 2, out on the street by 5. 3 hours including 15 minute intermission.
I won't post them here, but I have a picture of the curtain, as well as the stage as you're leaving the theater, both on my instagram (justjake2000).
For the person who asked if the Shall We Dance scene was the same as the commercial, not exactly. The commercial is obviously in some actual ballroom location. On stage, there are pillars throughout the stage, as well as the kings furniture down stage. Other than that, the stage is bare.
Anyway, I absolutely loved the show today. I'll admit that I've never seen the show before (not sure how that happened), so I was pretty unfamiliar with the plot, but super familiar with the music. Kelli, as everyone has said, is just superb. She is incredibly in her element and the whole show just seems so natural for her.
Ken Watanabe really grew on me - I'm not sure how bad his diction was last week, but I was able to catch about 75% of it today. There were a couple moments where I had absolutely no idea what he was saying (specifically "A Puzzlement"...), but was able to use context clues to figure it out. Other than that, I understood everything else and thought his characterization was so interesting and a joy to watch.
And I'll also add to the praise of Ruthie Ann Miles who is clearly the stand out in the ensemble. What a special performer.
As this was my first time seeing the show, I had no qualms about the "lack" of set as someone had said before. I actually really loved when the stage was bare except for a few small set pieces. It really drew you into what the characters were actually saying.
The opening scene with the ship was spectacular. The audience immediately started applauding when the curtain opened to reveal the ship, but we started cheering a couple seconds later (for those who already know what the ship does).
All in all, I left the show feeling so moved and would easily recommend it to anyone.
PS. Show started at 2, out on the street by 5. 3 hours including 15 minute intermission.
Updated On: 3/18/15 at 06:06 PM
#311
Posted: 3/18/15 at 6:35pm
Wonderful review ohjustjake and thanks for answering my question. After looking at the pictures from your Instagram, I really like the set Michael Yeargan made for this. It's simple but elegant, a design choice that hardly gets used on Broadway as much as it could and it's very striking.
#312
Posted: 3/18/15 at 6:51pm
So happy to see such good reviews and that the king's speech is coming around! It sounds like a marvelous production and I wish I could get to NY to see it.
#313
Posted: 3/18/15 at 6:55pm
I want to add that though the show runs 3 hours, it hardly feels it. At least, it didn't for me. SOUTH PACIFIC, which was about 3 hours or 2 hours and 50 minutes, did feel that length for me. There's something about THE KING AND I, or at least this production, that is just so well paced.
#314
Posted: 3/18/15 at 7:43pm
bwayphreak234 - In your photo is that the orchestra in the space that usually holds the thrust stage? Is the show staged within the proscenium? That would be kinda distancing for the audience, no?
Up In One
#315
Posted: 3/18/15 at 7:49pm
The thrust is revealed after the Overture, as in SOUTH PACIFIC.
#316
Posted: 3/18/15 at 9:49pm
The SOUTH PACIFIC Overture was wonderful, it is rather to bad that THE KING AND I's Overture is truncated quite a bit. But maybe that could change during previews? If not then, oh well.
#317
Posted: 3/18/15 at 9:50pm
I'm hoping they revert back to the full Overture now that the running time is more normal.
#318
Posted: 3/18/15 at 9:50pm
I'm hoping they revert back to the full Overture now that the running time is more normal.
#319
Posted: 3/19/15 at 12:32am
fantastic descriptions of the early previews
sooooooooooooooooooooooooo
excited to see this show!
sooooooooooooooooooooooooo
excited to see this show!
#320
It's gratifying to see newcomers to The King and I, which debuted almost sixty-five years ago, swept up into it and immediately realize that this show is something special.
I guess that that's what makes a classic a classic.
Posted: 3/19/15 at 12:38am
It's gratifying to see newcomers to The King and I, which debuted almost sixty-five years ago, swept up into it and immediately realize that this show is something special.
I guess that that's what makes a classic a classic.
#321
Posted: 3/19/15 at 8:43am
someone please answer my question about the UNCLE TOM'S CABIN sequence?...thanks!
#322
Posted: 3/19/15 at 8:56am
My first exposure to The King and I was the revival with Yul Brynner in 1978. That was my second Broadway show. I didn't like it at all because I couldn't understand a word that Yul said. He just muttered throughout the entire show. Which kind of reminded me of what people are saying about Ken Wantanabe.
Then I went back to the revival in the 90s and absolutely loved it. I saw that particular production numerous times, and Lou Diamond Phillips interpretation and performance got better and better with each viewing. Donna Murphy was magnificent.
I'm looking forward to the current revival and probably won't get around to seeing it until May.
Then I went back to the revival in the 90s and absolutely loved it. I saw that particular production numerous times, and Lou Diamond Phillips interpretation and performance got better and better with each viewing. Donna Murphy was magnificent.
I'm looking forward to the current revival and probably won't get around to seeing it until May.
Hey Dottie!
Did your colleagues enjoy the cake even though your cat decided to sit on it? ~GuyfromGermany
#323
Posted: 3/19/15 at 9:54am
Dottie, I look forward to hearing your thoughts, since you will have seen all three productions.
I saw Yul in a national tour opposite Mary Beth Piel in the '80s. He was incredible even though he was conserving his energy (it was publicized as his "farewell tour" and he had announced that he had terminal lung cancer). Mary Beth was wonderful as well. The whole production was first-rate. The ONLY time I really felt that it wasn't quite up to full-power was during the dance part of "Shall We Dance." Yul just wasn't up to whipping Mary Beth around the stage in that sexually-charged two-step. She almost had to lead him around a bit to make it work. Other than that, it really was a perfect show ... and his death scene? Open sobs in the audience, particularly knowing what was undeniably on the horizon for the actor and his cast.
I saw Yul in a national tour opposite Mary Beth Piel in the '80s. He was incredible even though he was conserving his energy (it was publicized as his "farewell tour" and he had announced that he had terminal lung cancer). Mary Beth was wonderful as well. The whole production was first-rate. The ONLY time I really felt that it wasn't quite up to full-power was during the dance part of "Shall We Dance." Yul just wasn't up to whipping Mary Beth around the stage in that sexually-charged two-step. She almost had to lead him around a bit to make it work. Other than that, it really was a perfect show ... and his death scene? Open sobs in the audience, particularly knowing what was undeniably on the horizon for the actor and his cast.
"Jaws is the Citizen Kane of movies."
blocked: logan2, Diamonds3, Hamilton22
blocked: logan2, Diamonds3, Hamilton22
#325
Posted: 3/19/15 at 11:57am
I saw the show last night. I sat orchestra row P110. You miss anything along the back wall, which is too bad because you miss the full effect of the set, but you see 98% of the action since it's staged mostly on the thrust.
The show started at 8:05 and was over by 10:58. The overture is still truncated and adds "Shall We Dance" in the mix. Who knows if they will restore the full overture... I think they're going to stick with this one though.
Kelli O'Hara is, as they say, everything. She is our leading Rodgers and Hammerstein interpreter and can do no wrong.
I very much enjoyed Ken Watanabe. I'd say his diction is 85% there. He mainly needs to focus on the diction within his patter songs and he'll be great. He's such a great fit for this role otherwise. He has such a commanding presence.
The other standout is Ruthie Ann Miles, who makes Lady Thiang not only a partner in crime for Kelli but also a strong woman with convictions and just as many tricks up her sleeve as Anna or the King. It's really quite terrific and makes for a smashing Broadway debut.
Very strong ensemble all around.
To answer the question about the ballet, it's inspired by Robbins's choreography. It's very close but not exactly the same.
From reading previous posts, it's apparent that things have already improved, and I'm certain it'll only get tighter and stronger. This is a beautiful production. And not to jinx her, but Kelli is delivering a Tony-worthy performance.
The show started at 8:05 and was over by 10:58. The overture is still truncated and adds "Shall We Dance" in the mix. Who knows if they will restore the full overture... I think they're going to stick with this one though.
Kelli O'Hara is, as they say, everything. She is our leading Rodgers and Hammerstein interpreter and can do no wrong.
I very much enjoyed Ken Watanabe. I'd say his diction is 85% there. He mainly needs to focus on the diction within his patter songs and he'll be great. He's such a great fit for this role otherwise. He has such a commanding presence.
The other standout is Ruthie Ann Miles, who makes Lady Thiang not only a partner in crime for Kelli but also a strong woman with convictions and just as many tricks up her sleeve as Anna or the King. It's really quite terrific and makes for a smashing Broadway debut.
Very strong ensemble all around.
To answer the question about the ballet, it's inspired by Robbins's choreography. It's very close but not exactly the same.
From reading previous posts, it's apparent that things have already improved, and I'm certain it'll only get tighter and stronger. This is a beautiful production. And not to jinx her, but Kelli is delivering a Tony-worthy performance.
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